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The image of Christ’s limp body standing in a chalice and supported by angels refers to the Catholic doctrine of transubstantiation. The Catholic Church believes that the bread and wine that are blessed by the priest during Mass actually become the body and blood of Christ, whereas Protestants believe the bread and wine act merely as symbols. Historically this has been one of the key issues dividing the Catholic and Protestant churches. In this drawing the blood gushing into the chalice from Christ’s wound is a forceful expression of Catholic belief. Palma’s design was undoubtedly intended to be incorporated somewhere in the Catholic liturgy, perhaps as part of the embroidered decoration on a priest’s ceremonial vestments.

Palma was born into a Venetian family of artists. His father Antonio ran a successful workshop, and his great uncle was the renowned painter Palma Vecchio. In spite of this, Palma Giovane was virtually self-taught. In 1567 he caught the eye of the Duke of Urbino, whose patronage allowed him to study in Rome. There, Palma embraced the practice of making preparatory drawings (disegno), a custom that was traditionally associated with central Italy. He returned to Venice in the mid-1570s, where his blend of naturalism and moderate Mannerist exaggeration became popular. Palma’s work increasingly reflected his appreciation of the Venetian masters, particularly Jacopo Tintoretto. Following Tintoretto’s death in 1594, Palma became the city’s leading painter.